Blutnacht - Das Haus des Todes

A casual viewing of this old cult favorite will not explain what's going on. The characters are frequently called by other names, and the unseen (until the last scene) insane killer calls himself Marianne. There are so many characters related to each other and so many people involved in the tragedy that it's hard to keep up with who-did-what and why. Jeffrey is a red herring, and we never know for sure if he is who he says he is, even though Diane checks his ID (which is a California drivers license). John Carradine is wasted as a mute who only rings a bell, grunts and writes on a pad to communicate. Mary Woronov is very likable, as is Astrid Heeren, but one I would have liked to see more of was a reluctant telephone operator played by Lisa Richards. In fact, in order to vaguely understand what I had seen, I had to reread all the information here. I am still not impressed with the result, which could have been so much better.

I love discovering new-to-me American horror flicks of the 1970s. These independent, backwoods-shot productions usually showcase some then-startling gore effects, as well as creepy atmosphere and a sense of gritty realism usually absent from the slicker Hollywood productions. SILENT NIGHT, BLOODY NIGHT fits the bill as an all-but-forgotten movie from this era, but sadly it turns out to be anything but a gem. Saying that, this early slasher flick even manages to pre-date Black Christmas by a year, and HALLOWEEN fans will find much of interest in the p.o.v. killer shots and the eerie atmosphere that highlight this unusual little movie.

The film was obviously made on the cheap, and in many places things are far too dark to see what's going on. Despite the best intentions of the filmmakers, this film's a chore to sit through. The story is slow beyond belief and the narrative stilted and mishandled; the editing of various scenes is done in such a way to make even the simplest shots confusing to the viewer. In essence, it's about a creepy old abandoned house that may be home to a murderous lunatic, plus some back story about an old asylum. The plot itself is fairly simple and uneventful, at least until the final denouement which has a classic twist of an ending. As is usual for most '70s horror flicks, there's a little gruesomeness, including a double axe murder and a broken bottle in the face, but nothing too off-putting for seasoned buffs who like their horror of the older, more classic variety. One of the most positive aspects of the film lies in director Theodore Gershuny's work – there are some genuinely inventive moments, enhanced by weird camera angles, and an excellent flashback sequence involving inmates taking over the asylum in which things get really spooky and eerie.

The story is cheaply acted by a bunch of no-name or cult stars such as Warhol favourite Mary Woronov. Guest star Patrick O'Neal doesn't hang around for long, while John Carradine doesn't say a word! Leading actor James Patterson was dying of cancer while the film was being made, adding a further level of grubbiness to the thing. SILENT NIGHT, BLOODY NIGHT is a very obscure movie, and it's easy to see why; low budget, quite similar to dozens of others, and with no big names to market it. Despite these factors it works in places and provides a fair few chills during the short running time.

Low-budget horror almost seems too kind a way to describe this movie which sometimes seems like it was shot with someone's home movie camera! Still, the film has a certain flair and an ambitious (overly-ambitious) story that gives it enough quality to remain memorable. The story revolves around a house that has lain abandoned for many years. In a fairly creepy prologue, the owner is shown running from the house in flames, screaming till his death. Cut to present day where slick realtor O'Neal and his sexy lover Heeren come to town to finalize the sale of the house to the town elders. The buyers are a dour, somewhat disturbing bunch who add to the creepiness of the opening scenes. Oh...and also there's an escaped mental patient on the loose who is killing his way back to town! Coinciding with all this is a visit from Patterson, the grandson of the home's original owner. He carries on a tenuous encounter with Woronov, the mayor's daughter. If the plot sounds confusing and convoluted, it is. But it's all finally explained in the finale which includes a truly horrific flashback to the days when the house was occupied. This sepia-toned memory is filled with scary-looking people (some of them Warhol groupies) who are filmed in a way that blurs their features and resembles the earliest camera work ever done. This is an unsettling effect that lifts the film above many other paper thin shockers. The acting is surprisingly good throughout, with several of the actors having had Broadway experience (Patterson was a Tony winner!) Though the story isn't always easy to follow and it's edited with a chainsaw, a certain level of uneasiness comes through. Aiding this quite a bit is a truly mundane, yet terrifying voice that's heard many times over the telephone. The film makers definitely tried to make an arresting picture. The opening credits are professionally done, the music is disturbing and the actors (some of them well known---Abel played D'Artagnon!!) do their best. There's even a pretty shocking twist about one third of the way in. Only the bare bones production values keep the movie from reaching a level of quality. Still, the dank lighting and blurry location work help add to the overall frightening tone. Woronov plays one of her most "normal" roles. For some reason, this film slammed the lid on Heeren's career. While she is no Meryl Streep, she was decorative and had a bright presence. Christmas has little to do with the plot. The film steals from some earlier shockers, yet was also stolen from itself in later flicks.

Preceding the "psycho killer on a rampage on a holiday" era of horror films by a few years, this film manages to wring a fair amount of suspense and some well-directed murder scenes out of its miniscule budget. An eerie musical score, Andy Warhol veterans Ondine & Candy Darling in cameo roles, & the presence of Mary Woronov aid in the film's success. One complaint: It is VERY poorly produced resulting in most of the film being overly dark.

One of the first Christmas horror films ever made and the first slasher film set in Christmas. "Silent Night, Bloody Night" is creepy as hell, with a cheap but effective cinematography, amazing film locations, good acting and a wonderful music score. The script is thrilling and full of mistery, some twits and great death scenes. A low budget film that gave me thrills, a great classic!